Customer Reviews

Let It Roll

5 star:		(1)
4 star:		(1)
3 star:		(1)
2 star:		(0)
1 star:		(0)

 

 

From the gorgeous opening , Distant Shore, a soldier's elagaic lament, to the title track, an epic tale of madness and mayhem, to the beautiful yet haunting Flying Low, the sixth album by the enigmatically named Willard Grant Conspiracy is by far their most accomplished album, and one of the two or three best albums of 2006. It's that good. Though leader Robert Fischer's influences seem hard to pinpoint, and rather obscure; his visions of a gothic americana almost Faulknerian in its sweep, the music is as accesible as any of the best Americana, or Alt-Country , though those labels don't do justice to the originality of it's conception. I can't recommend Let it Roll any more enthusiastically. Criminally unreleased in their own country, it is worth seeking out.

My introduction to the music of the Willard Grant Conspiracy came via one of the bonus CDs included with one of the English music magazines to which I subscribe. The song featured was WGC's cover of Bob Dylan's Ballad of a Thin Man, a cover so well done that I sought out the source CD so I could hear more. Since this is my first outing with the band, I can only use other musical points of reference to describe what is here.
After listening to Let It Roll at least a dozen times, the verdict is mixed. There are a few tremendous songs and there are others which grate on repetitively.
First the winners: The aforementioned Dylan cover is great but I think the title cut is far and away the best song here. The industry reviewer praises the Jim Morrison-like baritone of lead singer Robert Fisher. I agree, Fisher's voice on Let It Roll fairly roars with authority and fury. Hearing the lyrics, this sounds like a song that could have been written by Nick Cave. But it is the music itself that will blow you away. That music, particularly the Warren Ellis-like violin passages, evokes the Nick Cave style of the last several years.
Several other cuts stand out as well. There is the mournful opener From A Distant Shore, then there is the gorgeous Flying Low, which brings to mind some of the best examples of Southern country-rock from the 1970s. I also like the doleful violin which opens Dance With Me as it reminds me of some of Van Morrison's mid-period Celtic explorations.
Though several of the other songs maunder on aimlessly, the one song I can't hack, either musically or lyrically is the obnoxious Crush. Some folks may find it to their liking but there is something about it that turns me off. Perhaps its the relentless repetition that has me reaching for the "skip" button.
Overall, I enjoy Let It Roll so I'll be sure pick up a couple of the Willard Grant Conspiracy's earlier albums. If you like modern alt-country or either of the artists I named in this review then this is an album to which you should grant some eartime.

Why don't these sorts of bands get more airplay? How come nobody knows about them?